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  • The Best Red Carpet Looks at the 2026 Critics’ Choice Awards

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    Ariana Grande. Getty Images for Critics Choice

    A mere four days into the new year, and the first awards show of 2026 is upon us. Tonight, the Critics’ Choice Awards celebrate the best in film and television, recognizing the finest actors, directors, writers, costume designers, editors and more in the industry.

    Along with the usual categories, the 31st Critics’ Choice Awards will include four new honors, for Best Variety Series, Best Sound, Best Stunt Design and Best Casting and Ensemble. Chelsea Handler is hosting the awards show for the fourth year in a row, and the ceremony will once again take place at the Barker Hangar at the Santa Monica Airport in Santa Monica, California.

    It’s always an A-list guest list; this evening’s presenters include Ali Larter, Alicia Silverstone, Allison Janney, Arden Cho, Ava DuVernay, Bradley Whitford, Billy Bob Thornton, Colman Domingo, Diego Luna, Ejae, Hannah Einbinder, Jeff Goldblum, Jessica Williams, Justin Hartley, Justin Sylvester, Kaley Cuoco, Keltie Knight, Marcello Hernández, Mckenna Grace, Michelle Randolph, Noah Schnapp, Owen Cooper, Quinta Brunson, Regina Hall, Rhea Seehorn, Sebastian Maniscalco and William H. Macy.

    Sinners leads the film pack with a staggering 17 nods, followed by One Battle After Another‘s still-impressive 14, while Netflix’s limited series, Adolescence, scored the most for television with six, followed by another Netflix show, Nobody Wants This, with five.

    Before the awards are handed out, however, the stars will walk the red carpet in the first major fashion moment of 2026. Last year’s show brought us standout looks like Margaret Qualley in ethereal Chanel, Colman Domingo in a brown leather Hugo Boss ensemble, Cynthia Erivo in black peplum Armani Privé and Mikey Madison in vintage Giorgio Armani, so we’re just going to have to wait with bated breath to see what this season’s nominees bring to the table. Below, see the best red carpet fashion moments from the 2026 Critics’ Choice Awards.

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Leighton Meester and Adam Brody. Getty Images

    Leighton Meester and Adam Brody

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Jessica Biel. Getty Images for Critics Choice

    Jessica Biel

    in Lanvin 

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    Jacob Elordi. Getty Images

    Jacob Elordi

    in Bottega Veneta 

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    Elle Fanning. WWD via Getty Images

    Elle Fanning

    in Ralph Lauren 

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    Ariana Grande. Getty Images for Critics Choice

    Ariana Grande

    in Alberta Ferretti 

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    Chase Infiniti. WireImage

    Chase Infiniti

    in Louis Vuitton

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    Amanda Seyfried. Getty Images for Critics Choice

    Amanda Seyfried

    in Valentino

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    Natasha Lyonne. Getty Images for Critics Choice

    Natasha Lyonne

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    Britt Lower. Getty Images

    Britt Lower

    in Bottega Veneta 

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Michael B. Jordan. Kevin Mazur/Getty Images for Cri

    Michael B. Jordan

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Jessica Williams. WWD via Getty Images

    Jessica Williams

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Keri Russell. Getty Images for Critics Choice

    Keri Russell

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Meghann Fahy. Getty Images for Critics Choice

    Meghann Fahy

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    Adam Sandler and Jackie Sandler. Getty Images for Critics Choice

    Adam Sandler and Jackie Sandler

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Jessie Buckley. Getty Images for Critics Choice

    Jessie Buckley

    in Dior 

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    Rose Byrne. Getty Images

    Rose Byrne

    in Valentino 

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    Ego Nwodim. Getty Images for Critics Choice

    Ego Nwodim

    in Carolina Herrera 

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    Kristen Bell. Getty Images for Critics Choice

    Kristen Bell

    in Elie Saab 

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    Michelle Randolph. Getty Images for Critics Choice

    Michelle Randolph

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Ethan Hawke. Getty Images for Critics Choice

    Ethan Hawke

    in Bode 

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    Sarah Snook. Getty Images for Critics Choice

    Sarah Snook

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Paul Mescal. WireImage

    Paul Mescal

    in Gucci 

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    Emily Mortimer. Getty Images

    Emily Mortimer

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Mckenna Grace. Getty Images

    Mckenna Grace

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Quinta Brunson. Getty Images for Critics Choice

    Quinta Brunson

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Renate Reinsve. WireImage

    Renate Reinsve

    in The Row 

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    Mia Goth. WWD via Getty Images

    Mia Goth

    in Dior 

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    Ginnifer Goodwin. WireImage

    Ginnifer Goodwin

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Kaley Cuoco. Getty Images for Critics Choice

    Kaley Cuoco

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    Noah Schnapp. WWD via Getty Images

    Noah Schnapp

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Chloé Zhao. Getty Images

    Chloé Zhao

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Chase Sui Wonders. WireImage

    Chase Sui Wonders

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Justine Lupe. Getty Images

    Justine Lupe

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Odessa A’zion. Getty Images for Critics Choice

    Odessa A’zion

    in Ott Dubai 

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    Chelsea Handler. Getty Images

    Chelsea Handler

    in Monique Lhuillier

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Sara Foster. WWD via Getty Images

    Sara Foster

    in Monique Lhuillier

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    Erin Foster. Getty Images

    Erin Foster

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Bella Ramsey. WireImage

    Bella Ramsey

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Alicia Silverstone. Getty Images

    Alicia Silverstone

    in Stella McCartney 

    31st Annual Critics Choice Awards - Red Carpet31st Annual Critics Choice Awards - Red Carpet
    Erin Doherty. Getty Images for Critics Choice

    Erin Doherty

    in Louis Vuitton

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Ali Larter. Getty Images

    Ali Larter

    in Nina Ricci 

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Sheryl Lee Ralph. Getty Images

    Sheryl Lee Ralph

    in Tony Ward Couture 

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Jackie Tohn. Getty Images

    Jackie Tohn

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Rose McIver. Getty Images

    Rose McIver

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Danielle Brooks. Getty Images

    Danielle Brooks

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Hannah Einbinder. Variety via Getty Images

    Hannah Einbinder

    in Louis Vuitton 

    31st Annual Critics Choice Awards - Arrivals31st Annual Critics Choice Awards - Arrivals
    Ejae. Getty Images

    Ejae

    The Best Red Carpet Looks at the 2026 Critics’ Choice Awards

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    Morgan Halberg

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  • How the funny and feminist fashion in ‘Palm Royale’ further the storytelling

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    NEW YORK (AP) — When Kristen Wiig steps out of a vintage Rolls-Royce in the opening scene of Season 2 of “Palm Royale,” she’s sporting a tall, yellow, fringed hat, gold platform sandals and sunny bell bottoms, with fabric petals that sway with every determined step. It’s the first clue that the costumes on the female-driven comedy are taking center stage.

    The Apple TV show made a splash in its first season with the starry cast, high production values and ubiquitous grasshopper cocktail. Wiig’s character, Maxine, tries to break into Palm Beach high society in 1969 and bumps heads with co-stars Carol Burnett, Allison Janney, Leslie Bibb and Laura Dern. But also playing a starring role are the vintage designer frocks that reflect each character.

    For Season 2, which premiered this week, Emmy-winning costume designer Alix Friedberg says she and her team coordinated “thousands” of looks that reflect the characters’ jet-setting style. She says 50-60% of the brightly colored and graphic print costumes are original vintage designer pieces, sourced by shoppers and costume designers.

    “The looks are so iconic. Sometimes Kristen will walk in in something, and it brings tears to my eyes,” Kaia Gerber — who plays Mitzi — told The Associated Press in a recent interview.

    The creative process entails more than shopping

    If not original vintage, Friedberg’s team builds the costumes, and if a character has to wear an outfit in multiple scenes or in big dance numbers, the team may create duplicates to preserve continuity. Friedberg says she was lucky to find so many vendors with vintage designer pieces in great condition.

    “(Bibb’s character) Dinah wears a few original Oscar de la Renta pieces that are really so perfect. Bill Blass was a big one, Oleg Cassini,” Friedberg says. “There’s a dress that (Janney’s character) Evelyn wears that’s this all emerald green jersey, it’s an original Halston and it’s so stunning on her and it really does sort of evoke what’s to come in the ‘70s.”

    Janney calls Friedberg “brilliant” and marveled at her talent at finding pieces that are like works of art. Some of her favorites were the characters’ après-ski looks in the Swiss Alps — but she finds it hard to pick an ultimate favorite.

    “All of them just make me feel divine. And the hair is just a masterpiece, and the makeup — it all goes together to just create Evelyn and I barely have to do anything,” Janney says.

    Costumes can be funny

    The costumes also help heighten the comedy. Friedberg says Evelyn’s stoic and deadpan character elicits laughs with some of her over-the-top getups.

    “She’s delivering this dialogue, these lines with, like, seven wigs on top of her,” Friedberg says. “The absurdity comes out really in how these women present themselves time and time again. … It was just so much fun to get to laugh and wink at the audience.”

    Burnett called costume fittings on the show “great fun” and said they helped her find her character, the scheming Norma. “I work from the outside in. I have to know what I’m going to look like,” she says.

    Norma’s signature turban started as a practical idea to help Burnett save time in hair and makeup. “The first time she put it on, we were both like, ‘Oh, that’s really so fabulous,’ and every time she came out as Norma without the turban, I really missed it,” Friedberg says. “Each time we built her a dress, we always had to sort of think about what the turban would be, and then it started to switch, and we started designing the turbans before the dress!”

    Season 2 of Apple TV’s “Palm Royale” features fabulous costumes and sets, lots of laughs and an undercurrent theme of feminism and female friendship. (Nov. 10)

    Many looks go deeper than sparkly sequins

    The costumes also help set the tone for the female empowerment theme that permeates this season. “Evelyn wore a lot more pants — which seems ridiculous to say today — but back then that was a real power move,” Friedberg says.

    Bibb had ideas to show how Dinah evolves from her trophy wife persona. “I knew this season was about her finding sort of her own wealth without a man … and what that looked like. I always have been obsessed with Sharon Stone in ‘Casino,’” Bibb says — and so they “stole” a bit of that look. “We really have Dinah going into pantsuits and just a different sense of her and she’s really becoming her most modern self.”

    Friedberg conveyed the privilege and simplicity of the rich men in the series through clothing as well. Josh Lucas plays Douglas, who suffers some disappointments this season, reflected in his costumes.

    “What if we approach Douglas where he’s always been dressed by women in his life? He’s always been dressed by someone else. He’s never shopped,” Lucas says he posed to Friedberg (who happens to be his sister-in-law in real life). “And for the first time, (his wife’s) character is not doing that, so he only has three hole-filled Hawaiian shirts.”

    He’s in fact the rare character who repeats outfits, Friedberg notes. “You can kind of see them, as the series goes along, getting a little bit more and more threadbare,” she says.

    Gerber’s character gets a major makeover this season after coming into money. The actor gushed about Friedberg’s intentional designs as Mitzi finds her “womanhood and her power.”

    “It was so fun to be able to be wearing these expensive gowns and jewelry and the hair and the makeup, and how that really sort of parallels Mitzi’s inner journey as well,” she says.

    The costumes may be eye candy, but Friedberg says each look also carries deeper meaning.

    “Maxine wears this dress that was an original Oscar de la Renta dress,” Friedberg says. “It’s very much something that Norma would wear, and it is saying to the audience without saying to the audience that she’s arrived, it’s her time, it’s time for her to rule.”

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  • What to Stream: ‘Freakier Friday,’ NF, ‘Landman,’ ‘Palm Royale’ and Black Ops 7

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    Jamie Lee Curtis and Lindsay Lohan re-teaming as the body-swapping mother and daughter duo in “Freakier Friday” and albums from 5 Seconds of Summer and the rapper NF are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: Claire Danes and Matthew Rhys team up for the new limited-series thriller “The Beast in Me,” gamers get Call of Duty: Black Ops 7 and Apple TV’s star-studded “Palm Royale” is back.

    New movies to stream from Nov. 10-16

    — Richard Linklater’s love letter to the French New Wave and the making of Jean-Luc Godard’s “Breathless,” “Nouvelle Vague,” will be streaming on Netflix on Friday, Nov. 14. In his review, Associated Press Film Writer Jake Coyle writes that, “To a remarkable degree, Linklater’s film, in French and boxed into the Academy ratio, black-and-white style of ‘Breathless,’ has fully imbibed that spirit, resurrecting one of the most hallowed eras of movies to capture an iconoclast in the making. The result is something endlessly stylish and almost absurdly uncanny.”

    — Jamie Lee Curtis and Lindsay Lohan re-team as the body-swapping mother and daughter duo in “Freakier Friday,” a sequel to their 2003 movie, streaming on Disney+ on Wednesday. In her review, Jocelyn Noveck writes, “The chief weakness of ‘Freakier Friday’ — an amiable, often joyful and certainly chaotic reunion — is that while it hews overly closely to the structure, storyline and even dialogue of the original, it tries too hard to up the ante. The comedy is thus a bit more manic, and the plot machinations more overwrought (or sometimes distractingly silly).”

    — Ari Aster’s latest nightmare “Eddington” is set in a small, fictional New Mexico town during the coronavirus pandemic, which becomes a kind of microcosm for our polarized society at large with Joaquin Phoenix as the sheriff and Pedro Pascal as its mayor. In my review, I wrote that, “it is an anti-escapist symphony of masking debates, conspiracy theories, YouTube prophets, TikTok trends and third-rail topics in which no side is spared.”

    — An incurable cancer diagnoses might not be the most obvious starting place for a funny and affirming film, but that is the magic of Ryan White’s documentary “Come See Me in the Good Light,” about two poets, Andrea Gibson, who died in July, and Megan Falley, facing a difficult reality together. It will be on Apple TV on Friday, Nov. 14.

    AP Film Writer Lindsey Bahr

    New music to stream from Nov. 10-16

    — There’s nothing worse than a band without a sense of humor. Thankfully 5 Seconds of Summer are in on the joke. Their sixth studio album, “Everyone’s a Star!,” sounds like the Australian pop-rock band are having fun again, from The Prodigy-esq. “Not OK” to the self-referential and effacing “Boy Band.” Candor is their provocation now, and it sounds good — particularly after the band has spent the last few years exploring solo projects.

    — The R&B and neo soul powerhouse Summer Walker has returned with her third studio album and first in four years. “Finally Over It,” out Friday, Nov. 14, is the final chapter of her “Over It” trilogy; a release centered on transformation and autonomy. That’s evident from the dreamy throwback single, “Heart of A Woman,” in which the song’s protagonist is disappointed with her partner — but with striking self-awareness. “In love with you but can’t stand your ways,” she sings. “And I try to be strong/But how much can I take?”

    — Consider him one of the biggest artists on the planet that you may not be familiar with. NF, the musical moniker of Nate Feuerstein, emerged from the Christian rap world a modern answer to Eminem only to top the mainstream, all-genre Billboard 200 chart twice, with 2017’s “Perception” and 2019’s “The Search.” On Friday, Nov. 14, he’ll release “Fear,” a new six-track EP featuring mgk (formerly Machine Gun Kelly) and the English singer James Arthur.

    AP Music Writer Maria Sherman

    New series to stream from Nov. 10-16

    — Apple TV’s star-studded “Palm Royale” is back just in time for a new social season. Starring Kristen Wiig, Laura Dern, Allison Janney, Leslie Bibb, Kaia Gerber, Ricky Martin AND Carol Burnett, the show is campy, colorful and fun, plus it has great costumes. Wiig plays Maxine, a woman desperate to be accepted into high society in Palm Beach, Florida, in the late 1960s. The first episode streams Wednesday and one will follow weekly into January.

    — “Real Housewives of Salt Lake City” cast member Heather Gay has written a book called “Bad Mormon” about how she went from a devout Mormon to leaving the church. Next, she’s fronting a new docuseries that delves into that too called “Surviving Mormonism with Heather Gay.” The reality TV star also speaks to others who have left the religion. All three episodes drop Wednesday on Peacock.

    — Thanks to “Homeland” and “The Americans,” Claire Danes and Matthew Rhys helped put the prestige in the term prestige TV. They grace the screen together in a new limited-series for Netflix called “The Beast in Me.” Danes plays a Pulitzer Prize-winning writer who finds a new subject in her next door neighbor, a real estate tycoon who also may or may not have killed his first wife. Howard Gordon, who worked with Danes on “Homeland,” is also the showrunner and an executive producer of “The Beast in Me.” It premieres Thursday.

    — David Duchovny and Jack Whitehall star in a new thriller on Prime Video called “Malice.” Duchovny plays Jamie, a wealthy man vacationing with his family in Greece. He hires a tutor (played by Whitehall) named Adam to work with the kids who seems likable, personable and they invite him into their world. Soon it becomes apparent that Adam’s charm is actually creepy. Something is up. As these stories go, getting rid of an interloper is never easy. All six episodes drop Friday, Nov. 14.

    “Martin Scorsese Presents: The Saints” returns to Fox Nation on Sunday, Nov. 16 for a second season. The premiere details the story of Saint Patrick. The show is a passion project for Scorsese who executive produces, hosts, and narrates the episodes.

    — Billy Bob Thornton has struck oil in the second season of “Landman” on Paramount+. Created by Taylor Sheridan, the show is set in modern day Texas in the world of Big Oil. Sam Elliott and Andy Garcia have joined the cast and Demi Moore also returns. The show returns Sunday, Nov. 16.

    Alicia Rancilio

    New video games to play from Nov. 10-16

    — The Call of Duty team behind the Black Ops subseries delivered a chapter last year — but they’re already back with Call of Duty: Black Ops 7. The new installment of the bestselling first-person shooter franchise moves to 2035 and a world “on the brink of chaos.” (What else is new?) Publisher Activision is promising a “reality-shattering” experience that dives into “into the deepest corners of the human psyche.” Beyond that storyline there are also 16 multiplayer maps and the ever-popular zombie mode, in which you and your friends get to blast away at relentless hordes of the undead. Lock and load Friday, Nov. 14, on PlayStation 5, Xbox X/S or PC.

    Lumines Arise is the latest head trip from Enhance Games, the studio behind puzzlers like Tetris Effect, Rez Infinite and Humanity. The basic challenge is simple enough: Multicolored 2×2 blocks drift down the screen, and you need to arrange them to form single-color squares. Completed squares vanish unless you apply the “burst” mechanic, which lets you build ever-larger squares and rack up bigger scores. It’s all accompanied by hallucinatory graphics and thumping electronic music, and you can plug in a virtual reality headset if you really want to feel like you’re at a rave. Pick up the groove Tuesday on PlayStation 5 or PC.

    Lou Kesten

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  • The Diplomat’s Creator Knows What Happens After That Wild Ending

    The Diplomat’s Creator Knows What Happens After That Wild Ending

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    What a time for Netflix’s hit political thriller to return. Days before the election, season two of Netflix’s The Diplomat starring Keri Russell as Kate Wyler, a U.S. ambassador to the U.K. caught in the midst of a political crisis, hit the streaming platform. [Spoilers ahead]. By the end of the six-episode second season, Kate learns that the mastermind behind the maritime bombing that and set off the events of the series was neither Russia nor the U.K. Prime Minister, but U.S. Vice President Grace Penn, played on the series by Oscar and Emmy winner Allison Janney. Talk about an October surprise.

    On a new episode of Still Watching, hosts Hillary Busis and Chris Murphy chat with creator and executive producer of The Diplomat Debora Cahn about how they engineered that shocker of an ending for season two, in which president William Rayburn (Michael McKean) drops dead after finding out Penn’s machinations—making nefarious Grace Penn the new President of the United States.

    “I like to come into the season with a plan, but then throw it in the garbage as soon as possible,” Cahn said—“if one of the writers has a better idea, and often they do.”

    Cahn and her writing team considered the implications of crafting a storyline that ended with an elder president dropping dead while in office—a plot twist that may have felt a bit too close to home just a few months ago. “We thought that that was going to sort of send the wrong message right before the election,” she said. Luckily for The Diplomat, U.S. politics took a different turn. “We did not anticipate this particular plot twist that happened in the real world,” said Cahn, with Kamala Harris becoming the Democratic nominee for president.

    There are other real world political corollaries baked into The Diplomat as well. Hillary Clinton, Cahn said, has been on her mind “from the very beginning of the series,” and Janney told Vanity Fair that she partially based her character on the former Secretary of State. “It’s Hillary Clinton, but it’s also Samantha Power and Susan Rice,” says Cahn. “And certainly Kamala Harris, who was, when I was first developing the series, just being chosen as Biden’s running mate. There’s a lot about the Kate VP plot that came from the selection of Kamala Harris.”

    As for where season three will take Kate and Grace Penn, Cahn has some ideas, but notes that the direction sort of depends on how things shake out with next week’s presidential election. “I don’t know what country we’re going to be living in a week from now,” she says. “So we try to leave ourselves a little bit open for the possibility of continuing to have a conversation with the world that we’re in.”

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    Chris Murphy

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  • John David Washington Faces Off Against An Army of Robots On Set Of ‘The Creator’ (Exclusive)

    John David Washington Faces Off Against An Army of Robots On Set Of ‘The Creator’ (Exclusive)

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    By Zoe Phillips, ETOnline.com.

    John David Washington is no stranger to big tasks. The actor goes head-to-head with an army of robots while trying to hunt down a secret weapon that threatens all mankind in his newest project, “The Creator:.

    ET went exclusively behind the scenes of the futuristic new film, which promises to be “an epic sci-fi action thriller set amidst a future war between the human race and the forces of artificial intelligence.”

    “It is the hardest thing I’ve ever done,” Washington says. “I’ve had some challenging stunts, this is by far the hardest thing I’ve ever done, getting strung up and dragged around, tossed around in a giant spacesuit that weighs a ton and trying to look heroic.”

    Washington says it helped that his set was so full of talent, pointing to co-star Allison Janney who “did a take once where she just started crying, and it was out of nowhere…she was making so many decisions, I couldn’t believe it.”

    Washington adds that ‘The Creator’ might surprise you. “It’s not like any other,” he says, “it’s a beautiful blend of atmosphere, beautiful exotic locations with what mankind has developed.”

    Janney shares her co-star’s sentiment, saying, “It is a futuristic movie. Post-nuclear disaster about a war that ensues between East and West, pits man against machine, it’s a story of love and acceptance.”

    In addition to Washington and Janney, the film also stars Gemma Chan and newcomer Madeleine Yuna Voyles.

    Per the release, The Creator takes place “amidst a future war between the human race and the forces of artificial intelligence, Joshua (Washington), a hardened ex-special forces agent grieving the disappearance of his wife (Chan), is recruited to hunt down and kill the Creator, the elusive architect of advanced AI who has developed a mysterious weapon with the power to end the war… and mankind itself.  Joshua and his team of elite operatives journey across enemy lines, into the dark heart of AI-occupied territory… only to discover the world-ending weapon he’s been instructed to destroy is an AI in the form of a young child.”

    The film was directed by Gareth Edwards, and written by Edwards and Chris Weitz.

    Both Washington and Janney agree that fans should plan to go see the film on the big screen. “You have to see this in a movie theater,” Janney says, “and watch this beautiful work of art.”

    “The Creator” is now playing in theatres.

    MORE FROM ET: 

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    Brent Furdyk

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  • Mondo Bullshittio #46: The Inquiry Into Andrea Riseborough’s Oscar Nomination

    Mondo Bullshittio #46: The Inquiry Into Andrea Riseborough’s Oscar Nomination

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    In a series called Mondo Bullshittio, let’s talk about some of the most glaring hypocrisies and faux pas in pop culture… and all that it affects.

    Well before the Oscar nominations were officially announced, there were “whisperings” of the “suspect” campaign that seemed to come out of nowhere with regard to well-known members of the Hollywood elite touting the performance of Andrea Riseborough in To Leslie. That “campaign” (which cost literally nothing next to the monetary amount required for the ad space most other people espousing a film for Academy Award consideration “have to” plunk down) consisted essentially of director Michael Morris and his wife, Mary McCormack, rallying fellow celebrities to watch the movie and tout it on their social media accounts if they liked it. Harmless enough, right? Especially compared to how other nominations have been secured in the past (that is, with gobs and gobs of money and quid pro quo antics). Not to the “scandalized” Academy. No, they felt that Riseborough’s nomination was so suspicious and rife with dubious motivations that they decided to launch an inquiry into it. After all, it has been branded as “one of the most shocking nominations in Oscar history.” How could they not humor those outraged by the decision with the pageantry of an “investigation”?

    And yet, had the Academy been investigating a slew of other nominations, they might have found far more muck to rake. Regardless, all of the sudden, Academy members and vested award participants were extremely interested in the importance of adhering to a document entitled “Regulations Concerning the Promotion of Films Eligible for the Academy Awards.” In it, there’s a section called, “c. Mailings may not include.” Under the first article in that umbrella is: “Personal signature, personal regards, or pleas to watch the film.” Although actors and actresses (including Kate Winslet, Edward Norton, Charlize Theron, Sarah Paulson, Gwyneth Paltrow, Demi Moore, Cate Blanchett, Jennifer Aniston, Courteney Cox, Jane Fonda, Mia Farrow, Mira Sorvino, Jamie Lee Curtis, Michelle Monaghan, Laura Dern and Kim Basinger) extolling the virtues of Riseborough’s performance weren’t doing so in any “mailings,” apparently their gushing fervor expressed in a public space (mainly Twitter and Instagram) was enough to loosen the meaning of the word. Hence the Academy responding to the fury, complete with accusations of a CAA-fueled conspiracy afoot as many of the actors praising Riseborough’s performance are repped by that agency. Of course, Riseborough, too, is also represented by said agency. Cue more infuriated cries of, “J’accuse!”

    Talk of Riseborough’s manager, Jason Weinberg, being the main catalyst behind getting Riseborough and Morris’ “little film” so much traction was corroborated by the likes of Jeremy O. Harris, who stated in January, “This man did a group chat Oscar campaign for a client he has seen work her ass off for years with little to [no] recognition who gave a daring performance in a small picture and it worked. This should be studied.” But director Morris himself was to thank for securing Charlize Theron (who Riseborough, as Leslie, is channeling a bit…namely, when Theron played Aileen Wuornos in Monster) to introduce the movie at a November screening where she proselytized the film’s greatness. And that’s what truly upped the momentum for the little indie performance that could. By the end of November ’22, Riseborough had secured an Independent Spirit Award nomination for Best Lead Performance.

    This wasn’t enough to sway the voters behind the nominations for the Golden Globe Awards or the Critics Choice Awards, but nothing could stop the momentum by this point, as Morris phoned in another friend in Gwyneth Paltrow, who trumpeted Riseborough’s brilliance in early January, insisting that Riseborough ought to win “every award there is and all the ones that haven’t been invented yet.” The SAG Awards nominations subsequently tend to disagree. But by mid-January, it doesn’t matter. The unofficial campaign for the movie has spread to Alan Cumming—and everyone knows the gays give good word of mouth. And that, to boot, when a gay man has praised a dramatic performance, it’s all but assured a following.

    The real problem, though? The push for Riseborough, in many people’s eyes, is a detriment and cloak of invisibility to Viola Davis. Specifically for her performance in The Woman King. And when Riseborough seemingly did “oust” Davis, taking “her place” among Best Actress Academy Award nominees Michelle Williams, Cate Blanchett, Ana de Armas (what the fuck—it’s even more insulting because Marilyn herself was never nominated for an Oscar) and Michelle Yeoh, the backlash veered into full-on “Beyoncé should have won Album of the Year” territory. Except, in this case, it’s a white lady instead of a white man and the performance is actually pretty fire instead of fairly forgettable. Nonetheless, the director of The Woman King, Gina Prince-Bythewood, was certain to announce that “the Academy made a very loud statement [in shutting out Davis] and for me to stay quiet is to accept that statement.” Many were of the same belief regarding not just the lack of Black female representation in the category, but the fact that Riseborough appeared to be getting the Oscar campaign equivalent of nepo baby treatment. With so many influential people advocating her performance, it somehow made the masses actually focus less on that, and more on how white folks are effortlessly guided into a Cinderella story at every turn.

    Appropriately, To Leslie itself is a kind of fairy tale. Or rather, a “semi-realistic” one. A story of an underdog who manages to pull herself up out of a very deep hole against all the odds. But, just as Riseborough, she has quite a bit of help to achieve that feat. Does that make her achievement less valid? It depends, of course, on who you ask. But there’s no denying that the real reason the Academy bothered to launch an inquiry at all was a result of the #OscarsSoWhite-oriented heat they were getting for Viola Davis’ absence, not to mention Danielle Deadwyler’s for her performance in Till. It was ultimately this politically incorrect faux pas that really spurred the organization’s investigation into the “tactics” used to secure the nomination. Barely a week later, as everyone expected (because everyone knew it was bullshit to call the kettle black on any “untoward” methods for lobbying for a movie or its lead actors), the CEO of the Academy, Bill Kramer, confirmed that Riseborough’s nomination would stand.

    Alas, by loosely pinning a “lobbying scandal” on Riseborough (because that’s whose name comes to mind above everybody else’s when all is said and done), the Academy can continue to avoid any true responsibility for its own actions. Or rather, what Prince-Bythewood might call its “loud” nomination choices. All while Riseborough somehow ends up being painted as the “bad guy” and the “overrated actress” of the scenario. And so, all this pomp and circumstance turns out to be more of a bane than a blessing for Riseborough and her talent in the end. Especially if she actually ends up winning.

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    Genna Rivieccio

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  • To Leslie: A Semi-Realistic Fairy Tale

    To Leslie: A Semi-Realistic Fairy Tale

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    As Vivian Ward in Pretty Woman once said, “People put you down enough, you start to believe it.” That statement couldn’t be any truer for washed-up alcoholic Leslie Rowlands (Andrea Riseborough), a proverbial small-town girl whose only achievement in life has been winning the lottery at her favorite local bar in West Texas. Although only a “modest sum” of $190,000, it’s enough to make Leslie’s head get a little too big as she proceeds to party the funds away. All while her parents, thirteen-year-old son, James (later played by Owen Teague), and sister, Nancy (Allison Janney), watch.

    It is the latter and her husband, Dutch (Stephen Root), who end up helping raise James when Leslie decides to leave “just so you can go out drinkin’ [and] thinkin’ you’re hot shit,” as Nancy puts it. Of course, anyone who has been an alcoholic or known one is aware of the seduction that the bottle holds. And it’s far greater than the appeal of being a Responsible Adult. Which is why, at the time, Leslie doesn’t feel so bad about the abandonment, sinking deeper and deeper into her hole of addiction and financial ruin. As she confesses to her employer-turned-semi-boyfriend/custodian, Sweeney (Marc Maron), “I was happy to have a break, okay? I partied and I didn’t mean to spend it all. I lost everything and I had to file for bankruptcy. So yeah, I left him.”

    Leslie’s explanation cuts to the core of Ernest Hemingway’s iconic dialogue from The Sun Also Rises: “‘How did you go bankrupt?’ Bill asked. ‘Two ways,’ Mike said. ‘Gradually, then suddenly.’” And when you’re “flush,” everyone around you wants to cash in on it as well, which is precisely what happened with Leslie, as she undoubtedly ordered rounds for everyone in the bar each time she went out. And, to the point of Nancy mocking her for thinking she was “hot shit,” Leslie still seems to be laboring under that misconception while she shamelessly flirts with men at bars to attempt getting her tab covered in her present state of broke assery.

    Ten years ago, it might have worked, but in the now, she’s become the proverbial “sad bar troll.” The one who stayed at the fair too long and currently looks like a bedraggled carny. And, talking of carnies, screenwriter Ryan Binaco (whose only previous writing credit is 3022) seems to want to emulate the message of William Lindsay Gresham’s Nightmare Alley (another lurid tale about an alcoholic hitting rock bottom after experiencing life at “the top”). A novel (and movie) that reiterates to the “little people” that they should be happy with their lot in life before they go trying to reach for the stars. To Leslie does something similar, being that Leslie is a woman determined to believe that the money will change her and her son’s lot in life. But, as Somen a.k.a. Steve’s mom in Welcome to Chippendales warns, “Some people are not meant to be rich.” For when you’re born fundamentally “gauche” (see also: The Beverly Hillbillies), you’ll only end up either 1) squandering it all or 2) constantly wanting more—never “just” being satisfied with the fluke of a come-up you’ve already gotten.

    In Leslie’s case, it’s the former category, and she pays a much higher price for ever having been “rich” in the first place—a heavenly blip in time that hardly compares to the hell she’s expected to spend the rest of her life in now—than she would have if she had gone on as an “ordinary” woman. That is to say, someone who kept their head down and kept working some banal job without letting “grand” ideas of being wealthy get the better of them. Even though we live in a society that preys on this naïve hope of the plebes every day (*cough cough* the very existence of the lottery and its nonstop barrage of ads peddling notions of hitting the big time with no effort except the purchase of a ticket). It’s also sometimes better known as capitalism.

    And once Leslie loses all her money, she also loses her entire sense of worth. Something that Sweeney, who manages the cheap roadside motel that his friend, Royal (Andre Royo), owns, has to help remind Leslie of as she makes slow progress on getting sober and actually doing the job she was hired for: cleaning the rooms. But, to bring up something else the aforementioned Vivian Ward said, “The bad stuff is easier to believe. Ever notice that?” It would be difficult for Leslie not to, what with all the “townfolk” constantly talking about what a fuck-up she is. But Sweeney tells her point-blank, “You’re not the piece of shit that everybody says you are.” In this regard, To Leslie additionally emphasizes that sometimes it only takes one person to believe in you in order for you to believe in yourself again. Just as it was for Vivian with Edward in Pretty Woman. And yeah, Leslie would probably be prostituting herself if there was more male interest actually shown in the “product.”

    Instead, she accepts the only job she’s miraculously offered: hotel maid. And all because Sweeney sees her homeless, drunken state and takes pity on her. Only to return his charity by later seething, while sober, “I’m fuckin’ stuck here with you and Royal—a pair of fuckin’ hilljacks like the shit icing on my shit fuckin’ life.” Sweeney reminds, “Me and Royal are the best thing that happened to you. So don’t call us names. And your family won’t talk to you because they shouldn’t after what you did. But you’re livin’, right?” She bursts out laughing at the “consolation” as he continues, “I’m sorry it ain’t a fairy tale, we all shoulda done things differently. But you’re what’s wrong with your life, not anyone else.”

    Royal expresses a similar sentiment when he tells Leslie at a town gathering, “Now everyone thinks they should be livin’ some life out the movies. Life is hard. Stop actin’ like it ain’t.” But even To Leslie, for all its bleakness, cannot fully surrender to giving its anti-heroine a totally dreary ending. Even if it might seem that way by Hollywood standards, with The Hollywood Reporter praising, “Recalls the grit of 1970s American indie cinema at its most indelible.” Yet, if that were an accurate comparison, somebody would end up either dead or heartbroken (e.g., Looking For Mr. Goodbar and Five Easy Pieces, respectively). Neither of which happens in To Leslie, a film that ultimately wants to declare to the masses that it’s okay to just be “ordinary.” To have modest dreams instead of lofty visions of fame and fortune. An assurance that probably means nothing in this world of “viral fame”-seeking whores who will have to learn the hard way that capitalism only favors a plebeian “come-up” for so long before cutting them down to size again.

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    Genna Rivieccio

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